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LIBRARY 


UNIVERSITY  OF  CALIFORNIA. 


Class 


71909 


Successful 


Drills  and  Marches 


Qertrua 

Graduate    of  tf\e 


9\orn>af    8cf\oof   of   £Pf\tjsicaf 


FORMERLY 
PHYSICAL  DIRECTOR  OF  THE  KANSAS  STATE  AGRICULTURAL  COLLEGE, 

AND  FOR  SIX  YEARS 

PHYSICAL  DIRECTOR  OF  THE   BURLINGTON,    IA.,  YOUNG 
WOMEN'S  CHRISTIAN  ASSOCIATION. 


Price,  50  Cents, 


MILWAUKEE,  WIS. 

FREIOENKER  PUBLISHING  CO.,    PUBLISHERS. 
1907. 


GENERAL 


Successful 


ills  and  Marches 


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fc   Surinam   9lorn>af 
^Training,   SHifWauljee 


FORMERLY 

'RECTOR   OF   THE  KANSAS   STATE  AGRICULTURAL  COLLEGE, 
AND    FOR    SIX    YEARS 

icAL  DIRECTOR  OF  THE    BURLINGTON,    IA.,   Youxr, 
WOMEN'S  CHRISTIAN  ASSOCIATION. 


J±A 


Price,  50  Cents, 

'FOf 


MILWAUKEE,  WIS 

FREIDENKER  PUBLISHING  CO.,    PUBLISHERS 
1907. 


£ 

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^  unique  drill  or  a  fancy  march  has  saved 
many  a  really  first  class  gymnasium  exhibition  or 
entertainment  from  palling  upon  an  audience 
through  lack  of  variety  of  class  work. 

The  following  are  a  few  of  the  drills  that  the 
author  has  used  very  successfully  in  the  giving  of 
entertainments,  and  they  are  offered  in  the  hope  that 
they  may  be  of  use  to  others.  Most  of  them  are 
original  with  the  author  a?id  those  that  are  not, 
have  been  added  to  and  changed. 

GERTRUDE   WILLIAMS-LVJfDGREN. 


187364 


Fancy  March  No.  1. 


Any  even  number  may  take  part — a  large  number  making  it  more 
<'HVrtive.  In  the  marching.,  emphasize  the  correct  walldng: — head  erect, 
•  •lu.'-t  out,  shoulders  down  and  the  weight  of  the  body  on  the  balls  of  the 
feet.  Have  the  pupil*  enter  according  to  height,  the  shorter  ones 
leading. 

Pupils  enter  in  single  file  and  march  around  the  room  or  stage 
once,  turning  square  corners.  When  the  rear  centre  of  the  stage  is 
reached,  march  down  the  center  by  twos  to  the  front  of  the  stage.  Here 
the  couples  separate  and  march  right  and  left  in  single  file  around  to  the 
sides  and  then  to  the  rear  corners  of  the  stage.  From  these  corners  the 
lines  march  diagonally  to  the  opposite  or  front  corners  of  the  stage, 
intersecting  at  the  centre.  (See  Fig.  1.) 

From  these  corners  the  two  lines  inarch  along  the  sides  of  the  stage 
to  the  rear  centre  of  the  stage  and  march  forward  down  the  centre  to  the 
front  by  twos. 

When  the  front  of  the  stage  is  reached  march  right  and  left  by 
twos  around  sides  to  the1  rear  centre  and  then  down  the  centre  to  the 
front  of  the  stage  bv  fours. 


FIG.  I 


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FIG. 


Here  the  fours  divide,  one  couple  marching  to  the  right  and  the 
other  to  the  left  side  of  stage.  (See  Fig.  2.) 

At  the  centre  of  the  sides  of  the  stage  these  couples  separate,  one 
marching  to  the  rear  and  the  other  to  the  front  of  stage.  (See  Fig.  2.) 


—  6  — 

The  lines  meet  at  the  centre  of  the  rear  and  at  the  centre  of  front 
of  the  stage  and  march  to  the  centre  by  twos.  (See  Fig.  3.) 

From  the  centre  they  march  right  and  left  by  twos  to  the  sides  of 
the  stage  (see  Fig.  3)  and  the  two  leaders  on  each  side  turn  about  and 
mark  time. 

Each  succeeding  couple  marches  i.p  to  the  leaders  on  their  respect- 
ive sides,  and  separate,  one  standing  beside  one  leader  and  the  other  be- 
side the  other  leader,  facing  the  centre  of  the  stage  and  marking  time, 
until  all  are  formed  in  two  long  straight  lines,  one  at  either  side  of  the 
stage,  all  shoulder  to  shoulder,  facing  the  centre  and  marking  time. 
(See  Fig.  4.) 


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At  a  signal  the  two  lines  march  with  short  steps  towards  the  centre  of 
the  stage  and  when  about  three  feet  from  each  other  mark  time  in  place. 

Then  the  four  leaders  (two  from  each  side  at  centre)  march  down 
the  centre,  one  couple  going  towards  the  rear  of  the  stage  and  the  other 
towards  the  front,  the  others  following  by  marching  sideward  or  face 
toward  leaders  and  march  forward.  (See  Fig.  5.) 

At  rear  and  front  of  stage  couples  separate  and  march  around  to 
sides  right  and  left  by  single  file  (see  Fig.  5)  and  pass  each  other  at 
centre  of  sides  of  stage.  (See  Fig.  6.) 


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—  7  — 

When  the  two  lines  meet  at  front  and  rear  of  stage  march  toward 
centre  of  stage  single  file  (one  pupil  falling  in  in  rear  of  the  preceding 
one.,  etc. 

From  the  centre  the  lines  march  in  two -large  spirals,  one  in  one 
corner  of  stage  and  the  other  in  the  corner  diagonally  opposite.  (See 
Pig.  7.) 


^._^-^^_ 


FIG.  7 


After  winding  the  spiral  closely,  leaders  turn  and  lead  their  respect- 
ive lines  out  and  around  to  sides  of  stage,  one  leader  marching  to  the 
right  centre  of  stage  and  the  other  to  the  left. 

From  the  centre  of  the  sides  the  lines  march  single  file  to  centre  of 
stage  and  march  off  the  stage  by  twos. 


Fancy  March  No.  2. 

This  march  calls  for  any  even  number.  Each  pupil  to  carry  a  wand 
or  broom  stick  upright  in  right  hand  at  -right  shoulder. 

Enter  -single  file  and  march  down  the  centre  by  twos,  then  dia- 
gonally across  centre,  and  then  by  twos,  then  fours,  as  in  March  1. 

At  centre  the  fours  separate  and  -march  in  four  circles,  one  in  each 
corner  of  the  stage.  (See  Fig.  1.) 


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Then  the  leaders  of  the  two  circles  at  the  rear  of  the  stage  meet  at 
the  centre  of  the  rear  and  the  leaders  of  the  two  circles  at  the  front  of 
the  stage  meet  at  the  front  centre  of  the  stage  and  all  march  to  centre  of 
stage  by  twos. 

From  here  they  march  right  and  left  by  twos  (as  in  March  1,  Fig.  3) 
to  centre  of  sides  and  turn  and  mark  time  (as  in  "Fig.  4  of  March  1). 
March  forward  in  two  straight  lines  from  the  sides  (as  in  Fig.  5,  March 
1)  and  divide.  Pass  each  other  (as  in  Fig.  6,  March  1).  March  in  spiral 
(as  in  Fig.  7,  March  1).  After  leading  out  from  the  spirals  the  leaders 
meet  at  the  centre  of  stage  and  pass  each  other  at  the  centre.  When  the 
sides  of  the  stage  are  reached  each  leader  turns  and  countermarches  her 
line  close  to  the  other  line  and  does  this  continually  until  one  leader 
reaches  the  front  corner  of  the  stage  and  the  other  leader  reaches  the 
diagonally  rear  corner  of  the  stage. 

From  here  the  leaders  march  along  sides  of  stage  to  the  centre  of 


—  9  — 


sides — turn  and  meet  at  the  centre  and  march  to  the  rear  centre  of  stage 
where  they  separate,  one  marching  towards  the  right  and  the  other  to- 
wards the  left  around  the  sides  of  the  stage  to  the  centre  of  the  front  of 
the  stage.  (See  Fig.  4.) 


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FIG.  H"* 

Here  the  leaders  stand  still  and  face  each  other  and  form  an  arch 
by  holding  wands  diagonally  upward  towards  each  other  overhead. 

The  next  couple  marches  through  this  arch,  joining  the  leaders  on 
the  farther  side,  and  then  stands  still  and  forms  an  arch  in  the  same 
way.  Each  succeeding  couple  does  the  same  so  that  the  effect  formed 
is  that  of  two  straight  lines  clown  the  centre  of  stage  with  a  continuous 
arch  formed  by  the  wands. 

After  each  couple  has  passed  under  the  arch  the  leaders  start  down 
Through  the  arch  towards  the  rear  of  the  stage,  carrying  wands  upright 
in  the  right  hand,  the  upper  end  resting  on  right  shoulder.  One  couple 
after  the  other  falls  in  behind  the  leaders  and  marches  to  rear  of  the 
stage.  The  couples  separate  at  the  rear  of  the  stage  and  march  right 
and  left  single  file  to  the  sides  and  off  the  staire  at  the  -ides. 

NOTE.— The  foregoing  march  is  very  effective  if  Japanese  lanterns  are 
fastened  to  the  upper  end  of  wands  or  sticks  and  are  carried  lighted  (the  stage 
darkened).  The  wands  should  be  carried  in  the  right  hand  and  the  left  hand 
should  be  placed  on  the  left  shoulder  of  the  person  in  front  for  this  lantern 
march.  In  this  way  the  spaces  are  kept  exactly  even. 


Fancy  March  No.  3. 

This  march  is  the  same  as  March  Xo.  1?  only  wands  are  carried  in 
the  right  hands  and  after  the  spiral  (see  Fig.  1,  March  1)  the  leaders 
meet  at  the  centre  of  the  stage  and  march  to  the  front  of  stage  by  twos, 
then  divide  and  march  to  right  and  left  by  single  file  around  the  sides  of 
the  stage  to  the  rear  centre  of  stage  and  form  the  arch  with  wands  as 
in  March  2. 

After  all  have  marched  forward  under  the  arch  the  leaders  march 
forward  to  front  of  stage,  separate  and  conn  tor  march  their  respective 
lines.  (See  Fig.  1.) 


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.  Continue  this  until  the  sides  of  the  stage  are  reached.  The  leaders 
then  meet  at  centre  rear  of  stage  and  march  to  front  by  twos  and  then 
around  sides  right  and  left  by  twos.  (See  Fig.  2.) 

Then  from  the  centre  rear  of  stage  march  down  to  front  by  fours. 
(See  Fig.  3.) 


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If  this  march  is  to  be  followed  by  a  wand  drill  the < fours  may  space 
and  will  be  in  position  for  the  wand  drill  or  military  marching. 


A  Simple  Wand  Drill. 

EXERCISE   I. 

Music:   Waltz  time. 

On  1  —  Raise  wand  horizontally  overhead  and  charge  directly  forward 
with  right  foot. 

On  2  —  Lower  the  wand  and  bring  the  heels  together. 

On  3  —  Raise   wand  horizontally  overhead   and   charge  directly  towards 

the  right  side  with  the  right  foot. 
On  4  —  Position,  with  wand  down  and  heels  together. 
On  5  —  Wand   overhead  horizontally  and  charge  directly  rear  with  the 

left  foot. 

On  6  —  Position,  with  wand  down  and  heels  together. 
On  7  —  Wand  horizontally  overhead  and  charge  directly  towards  the  left 

side. 
On  8  —  Wand  down  and  heels  together. 

EXERCISE   II. 
Repeat  Exercise  I. 

EXERCISE   III. 

On  1  —  Charge  directly  to  right  side,  bringing  the  right  hand  up  on  the 
right  shoulder  and  the  left  arm  down  on  the  left  side,  with  the 
wand  in  back  of  the  body. 

<>n  '2  —  Position,  with  wand  down  and  heels  together. 
Repeat  1  and  '2  three  times. 

EXERCISE   IV. 
a-  Exorcise  III,  only  to  the  left  side  instead  of  the  right. 


EXERCISE.  V. 

On  1  —  Bring  the  left  hand  on  right   shoulder  and  right  hand  out  in 

front  (shoulder  height). 
On  2  —  Bring  the  left  hand  around  forward  and  around  up  to  right  arm 

pit  and  the  right  hand  upward  and  forward  and  around  until  the 

right  end  of  the  wand  touches  the  floor  where  the  right  foot  was 
(the  right  foot  being  drawn  back  slightly  to  make  room  for  the 

wand. 


—  12  — 

On  3 — Same  as  on  1. 

On  4 — Position,  with  wand  down  in  front,  and  heels  together. 
Execute  this  exercise  4  times. 

EXERCISE  VI. 

Same  as  exercise  V,  only  to  the  left  side  instead  of  the  right. 
EXERCISE   VII. 

On  1 — Place    wand  back  of  shoulders    horizontally    and    hold    in    this 

position. 
On  2 — With  wand  back  of  shoulders  as  in  count  1,  bend  forward  from 

the  waist. 

On  3 — Same  as  count  1. 
On  4 — Position,  with  wand  down  in  front  and  heels  together. 

Same,  exercise  towards  the  right  side  (4  counts). 

Same,  bending  towards  the  left  side  (4  counts). 

Same,  bending  backwards  (4  counts). 

KXFJU'ISK   VIII. 
Repeat  Exercise  VII. 

EXERCISE   IX. 

On  counts  1 — 2 — 3 — 4  kneel  on  left  knee  and  raise  wand  hori- 
zontally overhead. 
On  counts  5 — 6 — 7 — 8  rise,  and  at  the  same  time  lower  the  wand. 

KXERCISE   X. 
Repeat  Exercise  IX. 

EXERCISE  XL 

On  1 — Inhale  and  raise  the  wrand  horizontally  overhead. 
On  2 — Lower  the  wand  and  exhale. 
Repeat  Exercise  XL 


Scarf  Drill  No.  1. 

This  drill  calls  for '12  young  ladies  in  white  dresses  (the  same  length 
from  the  floor)  with  white  bows  in  their  hair  and  each  carrying  a  cheese- 
cloth scarf  two  yards  in  length.  Four  of  these  scarfs  should  be  pale 
pink,  four  blue  and  four  green.  Waltz  time  is  played  as  the  ladies  enter 
by  twos  (the  waltz  step,  carrying  the  scarfs  diagonally  in  back  of  body 
with  the  right  hand  held  high  and  the  left  hand  low. 

They  enter  from  the  rear  corners  of  the  stage  by  twos  (see  Fig.  1) 
during  8  measures  of  waltz  time. 


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Green            *    '      >  *  Green                                                    T  T  T  T 

«    *     4-    *s 

FIG.  I  FIG.  a 


When  they  reach  the  front  of  the  stage  they  are  four  abreast  (see 
Fig.  2}  with  the  blue  scarfs  in  the  rear  line,  the  pink  scarfs  in  the  middle 
line  and  the  green  scarfs  in  front. 

The  pianist  strikes  a  chord  and  the  arms  are  brought  to  the  front 
with  the  hands  on  shoulders,  elbows  bent,  so  that  the  scarfs  form 
festoons  in  front  of  the  shoulders.  In  this  position  bend  the  body  slowly 
forward  to  waltz  time  (4  counts),  then  up,  then  to  the  right  side  and  up, 
left  side  and  up  and  then  forward  and  up  (16  counts  in  all). 

CHOBD. 

Hands  straight  up  overhead  and  execute  the  same  exercise  as  the 
last,  only  with  the  arms  in  this  position  (the  scarfs  forming  festoons 
overhead).  16  counts. 

CHORD. 

The  two  outside  girls  in  the  second  line  step  quicklv  forward  to  the 
ends  of  the  front  line  and  the  four  in  the  rear  line  divide,  two 


UNIVERSITY/ 


»F  TH6 


—  14  — 

to  the  left  of  the  middle  line  and  two  to  the  right,  thus  forming  two  rows 
of  six  each.     (See  Fig.  3.) 


CHORD. 

To  waltz  time  all  swing  scarfs  to  right  side,  hopping  on  right  foot 
on  the  1st  count  and  swinging  left  foot  across  in  front  of  right.  On  the 
third  beat  hop  on  right  foot  again  with  left  foot  still  crossed  in  front  and 
scarf  up  at  right  side. 

Then  the  same  step  towards  the  left.  Continue  this  step  during  32 
measures. 

CHORD. 

Space  so  as  to  have  plenty  of  room. 

All  execute  the  archery  movement,  beginning  with  both  hands  up 
diagonally  to  the  left  side  as  though  holding  a  bow  and  arrow.  Eyes 
directed  up  at  left  hand. 

On  1 — Pull  downward  and  backward  with  the  right  hand  charging  diag- 
onally rear  with  the  right  foot. 
On  2 — To  position  with  hands  up  at  the  left  again  and  heels  together. 

Execute  this  exercise  4  times  to  right  side,  4  times  to  th*e  left 
side  and  8  times  alternately. 

CHORD. 

Hands  down  at  sides. 
On  1 — Bring  left  hand  with  end  of  scarf  diagonally  upward  to  the  left 

at  left  side,  eyes  directed  up  towards  left  hand,  right  nand  down. 
On  2 — The  right  hand  down  at  right  side  and  the  left  hand  on  the  left 

shoulder  with  the  scarf  diagonally  downward  across  in  back  of 

the  body  and  eyes  directed  down  at  the  right  hand. 
On  3 — Same  as  on  1, 
On  4 — Hands  down  at  sides. 

Repeat — 4  times  to  the  left  side,  4  times  to  the  right  side  and  8 

times  alternately. 

CHORD. 

Front  row  faces  left  and  rear  row  faces  right. 

The  rear  row  waltzes  in  front  of  the  front  row,  first  with  the  right- 
foot,  swinging  arms  across  body  to  right,  and  then  with  the  left  foot, 
swinging  arms  to  left  side. 

The  line  that  is  now  hi  the  rear  falls  in  at  the  end  of  the  other  line 


—  15  — 

with  the  same  step  and  all  form  a  circle  and  keep  up  this  motion,  swing- 
ing the  scarf  until  the 

CHORD. 

All  face  partners  for  grand  right  and  left  and  waltz  around    the 
circle,  still  swinging  the  scarfs  to  right  and  left. 
Go  around  this  way  twice. 

CHORD. 

Lead  around  and  form  a  semi-circle.     (See  Fig.  4.) 
In  this  position  slowly  raise  the  arms  straight  forward  and   up  over- 
head (4  counts)  and  down  (4  counts). 

Execute  this  four  times  and  the  fourth  time  slowly  kneel  as  the 
arms  are  raised  and  hold — eyes  directed  upward. 

CURTAIN. 

A  pretty  encore  for  the  preceding  drill  is  to  have  the  young  ladies 
enter  from  the  rear  corners  of  the  stage  and  form  a  Y.    (See  Fig.  5.) 

<  > 

-<  > 

<  > 

<        > 


A  waltz  is  played  softly  at  first,  gradually  growing  louder  as  the 
young  ladies  advance. 

In  this  exercise  the  scarfs  are  tied  losely  around  the  waists,  those  in 
the  left  line  having  theirs  knotted  on  the  right  side  of  the  waist  and 
those  in  the  right  line,  with  scarfs  knotted  on  the  left  side.     They  ad- 
vance with  the  following  step  in  a  V  to  front  of  stage. 
On  1 — Touch  left  toe  to  the  front  and  move  arms  downward  until  hands 

meet  -near  the  ankle  (body  bent  forward). 

On  2 — Touch  left  toe  out  at  the  left  side  and  swing  the  arms  out  at  sides 
and  upward  until  the  fingers  meet  overhead  (eyes  directed  up  to- 
wards the  hands). 
On  3 — Same  as  on  1. 

On  4 — Step  forward  with  the  left  foot  and  hands  on  hips. 
Same  with  right  foot. 

Repeat  this  step  first  with  the  left  foot  and  then  with  the  right 
until  the  front  of  the  stage  is  reached  by  the  leaders.  Then  gradually 
retreat  with  the  same  step,  only  retreating  on  the  fourth  count  instead 
of  advancing. 

Music  grows  softer  as  the  young  ladies  retreat  to  the  same  corners 
they  came  from. 

NOTE. — This  scarf  drill  may   be    executed    with    the   chords    omitted,  which 
will  cause  it  to  be  more  effective. 


Scarf  Drill  No.  2. 

Tliis  drill  requires  14  girls  who  are  dressed  in  different  colored  tar- 
latan dresses  (short)  which  are  trimmed  with  tinsel,  etc.  The  scarfs 
match  the  costume  and  are  two  yards  in  length. 

The  music  used  is  a  soft  slow  waltz 

The  girls  enter  (7  on  each  side)  from  the  rear  corners  of  the  stage. 
(See  Fig.  1.) 


h  h  h  h  h  h  > 
FIG.  I 

The  lines  pass  each  other  uneil  they  are  just  opposite  each  other, 
making  two  lines  of  seven  each  across  the  rear  of  the  stage.  They  face 
the  front.  The  step  used  in  entering  is  the  waltz  step,  starting  with  the 
right  foot  and  swinging  the  scarf  to  the  right  side,  then  left  side,  etc. 
When  facing  the  front  keep  up  the  step  and  swinging  the  scarfs,  without 
advancing. 

All  waltz  forward  twice  and  then  all  turn  towards  the  right  during 
two  measures. 

Repeat. 

Then  repeat  the  same  turning  towards  the  left.  During  this  exer- 
cise hold  the  left  hand  high  (arm  curved)  and  right  hand  on  right  hip 
while  turning  towards  the  right,  and  the  right  hand  high  and  the  left 
hand  on  left  hip  while  turning  towards  the  left. 

Then  all  waltz  forward  once,  then  backward  once  and  then  two  draw 
steps  backward,  hopping  back  on  right  foot  and  drawing  left  foot  back 
to  the  right  foot.  In  combination  with  the  draw  steps  lower  the  right 
arm,  the  right  hand  nearly  touching  the  floor  and  swing  arm  back  as 
you  draw  the  foot  back.  Repeat  this  3  times. 

Same  with  opposite  foot  and  hand.    4  times. 

All  execute  the  following  step: 

Waltz  forward,  then  backward,  beginning  with  the  right  foot.  Then 
kick  right  foot  across  in  front  of  left  foot,  Then  repeat  the  sam«  with  the 
left  foot.  Keep  up  this  step  and  gradually  all  of  the  girls,  except  one 


—  17  — 

in  the  centre  divide  and  one-lialf  of  them  hand  one  end  of  their  scarfs 
into  one  of  the  hands  of  the  girl  in  the  centre  and  the  other  one-half 
hand  them  into  her  other  hand.  She  raises  her  hands  and  so  forms 
a  Maypole  about  which  the  girls  revolve  with  the  following  step: 

611  1 — kick  with  the  right  foot  and  hop  on  left  foot  and  on  the  3rd 
heat  hop  again  on  the  left  foot  and  move  right  foot  in  front  of  left  knee. 

Then  waltz  step  once,  starting  with  the  right  foot. 

Then  two  draw  steps  backward,  beginning  with  the  left  foot.  The 
free  ends  of  the  scarfs  are  moved  down  and  back  as  the  draw  step  is 
taken.  Repeat  this  step  T  times. 

Then  all  turn  and  take  this  step  around  the  Maypole. 

Step  t«»  the  right  side  and  then  kick  wijh  left  foot  across  in  front  of 
right.  Then  repeat  the  same  with  the  left  foot. 

Repeat  the  above  step  7  times. 

Gradually  lead  out  of  the  circle  until  the  lines  are  formed  across 
the  stage  again. 

One -line  faces  left  and  the  other  right  and  waltz  off  the  stage. 


Scarf  Drill  No,  3. 

16  girls  are  required  for  this  drill,  numbered  according  to  the 
height,  the  two  tallest-are  No  1's  and  the  two  shortest  are  No.  <s's.  etc. 
The  odd  numbers  carry  green  cheesecloth  scarfs  and  the  even  nmnhers 
carry  red  scarfs. 

NOTE.— Any   color   may    be   substituted  for  the  scarfs,  but  these  are  bright 
and  pretty  for  the  evening. 

The  scarfs  are  two  yards  long. 

All  of  the  dresses  should  be  the  same  distance  from  the  floor:  i.  e. 
10  inches.  The  dresses  should  be  white  and  the  girls  should  wear  white 
bows  or  flowers  in  the  hair. 

Either  white  stockings  and  white  slippers,  or  white  stockings  and 
black  slippers,  or  all  black  stockings  and  slippers  may  be  worn,  but  all 
should  be  alike.  The  music  played  softly  troughout  this  drill  is  "Love's 
Dream  After  the  Ball." 

To  start  the  drill  there  are  two  lines  of  girls  (4  in  each  line)  in  the 
wings  at  either  side  of  the  stage.  (See  Fig.  1.) 

GT>ec.7t,  Green. 

J-hhi-  -j  H  -f  H 

\-\-\-\-  HHHH 

fffeva  z    *    b    v 


No.  1's  are  the  leaders. 

The  odd  numbers  (4  on  each  side)  or  those  with  the  green  scarf- 
enter  from  the  wings  at  the  rear  sides  of  the  stage,  single  file,  and  ad- 
vance to  the  rear  centre  of  the  stage.  Their  scarfs  are  loosely  suspended 
from  the  thumb  of  the  right  hand  (both  hands  are  out  at  side  shoulder 
high).  These  8  enter,  marching  slowly  and  raising  and  bending  the 
knee  and  raising  the  foot  before  lowering  it  to  the  floor.  Start  with  the 
right  foot.  At  the  end  of  8  measures  of  music  the  leaders  should  meet 
quite  close  together  at  the  rear  centre  of  the  stage  so  that  the  8  wi+h 
green  scarfs  will  be  in  position  as  shown  in  Fi^.  2  (the  8  with  red  scarfs 
still  standing  in  the  wings). 


/    3     f    7 

H  H  H   H 


—  19  — 

When  the  leaders  meet,  all  of  the  eight  courtesy  deeply,  bringing 
the  arms  slowly  forward  and  upward  and  together  as  the  body  is  low- 
ered, and  lowering  the  arms  as  the  body  is  straightened  ajgain  to  the 
erect  position. 

8  measures  of  music  are  allowed  for  the  courtov. 

On  rising  grasp  the  scarf  gracefully  in  both  hands,  dividing  it  into 
thirds.  Waltz  down  the  centre  by  twos,  Xo.  Ts  leading.  Start  with  tLe 
right  foot  and  swing  the  scarf  to  the  right  side,  then  the  same  to  the  left 
side. 

When  the  front  of  the  stage  is  reached  by  Xo.  1's  they  divide,  one 
going  to  the  right  and  the  other  to  the  left  side  of  the  stage  with  the 
v.-altz  step,  followed  by  their  respective  lines. 

NOTE.— (Except  on  entering,  the  waltz  step  is  kept  up  throughout  the  entire 
drill,  and  as  the  right  foot  advances  the  scarf  is  swung  gracefully  to  the  right 
side  and  the  body  bent  towards  the  opposite  side.  Same  with  the  left  foot.) 

When  th<-sc  leaders  have  reached  the  rear  of  the  sides  of  the  stage. 
these  lines  (the  greens)  turn  and  face  toward  the  centre,  still  keeping 
up  the  waltz  step  in  place  and  waving  their  scarfs  from  side  to  side 
across  the  body.  Then  the  lines  with  the  red  scarfs  advance  from  the 
wings  toward-  each  other  in  the  same  way  that  those  with  green 
scarfs  started,  they  execute  the  same  movements  that  the  former  did 
after  entering.  When  those  with  the  red  scarfs  separate  and  waltz  to 
the  rear  of  the  stage  they  pass  to  the  rear  and  line  up  beside  those  with 
green  scarf-  so  that  there  are  two  lines  on  each  side  of  the  stage  keeping 
up  the  waltz  step  in  place  and  all  facing  the  rear.  (See  Fig.  3.) 


FIG. 


The  lines  then  waltz  to 'the  rear  of  the  stage  and  intersect  each 
other  and  crossing  over  to  the  opposite  side  of  the  stage.  (See  Fig.  4.) 

Waltz  close  to  partners  around  sides  of  the  stage  to  the  centre  front 
of  stage  and  intersect  again  at  the  front  of  stage  in  the  same  wav.  (See 
Fig.  4.) 


££ 

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t,  b, 

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P1G.5 


FIG- 4 


—  20  — 

After  intersecting  the  lines  at  the  front  the  partners  join  each  other 
again  and  waltz  to  the  rear.  Waltz  down  centre  of  stage  toward  the 
front  by  fours  (two  from  each  side)  and  the  four  leaders  in  the  front  line 
waltz  to  four  crosses  which  have  previously  been  marked  on  the  floor. 
(These  crosses  divide  the  front  of  the  stage  into  four  parts.)  Those  be- 
hind the  leaders  take  their  places  as  in  Fig.  5. 

Now  all  of  those  in  the  two  lines  on  the  left  of  the  stage  waltz 
over  in  back  of  those  in  the  other  two  lines  to  the  crosses  vacated  by 
them  and  they  waltz  over  in  front  of  the  other  two  lines  to  the  crosses 
vacated  by  them  so  that  after  they  have  crossed  over  the  formation  will 
be  as  in  Fig.  6. 


MT          >-r          *-r          ">T 

FIG.b 

Then  all  of  those  in  the  line  at  the  right  of  the  stage  slowly  kneel, 
raising  the  scarfs  horizontally  overhead  and  looking  up  at  the  ones  who 
waltz  around  them.  Those  in  the  second  line  from  them  also  kneel,  and 
there  in  the  other  two  lines  waltz  forward,  extending  scarfs  in  the  left 
hands  out  at  the  sides  and  holding  center  of  scarfs  of  those  who  are 
kneeling,  waltz  around  them,  looking  down  at  them. 

Then  those  in  the  lines  that  were  kneeling  slowly  rise  and  the  others 
kneel  and  they  waltz  around  those  kneeling.  (8  measures  to  waltz 
around.) 

Then  all  turn  and  waltz  back  across  to  places  during  8  measures  of 
music  and  the  four  in  each  corner  turn  so  that  their  right  shoulders  are 
toward  each  other,  so  as  to  form  "Four  hands  across/  (see  Fig.  7),  so  that 


x* 


5V 


'  F.G.J 

there  are  four  groups  of  four  each,  one  in  each  corner  of  the  stage,  each 
O3ie  taking  hold  of  the  right  hands  of  the  other  three  in  her  group. 

The  scarfs  are  all  held  out  at  he  left  side  in  the  left  hand.  In  this 
position  waltz  around  towards  the  right  eight  measures  and  then  turn 
about  so  that  the  left  shoulders  are  towards  each  other  and  the  scarfs  are 
in  the  right  hands  and  revolve  towards  the  left  eight  measures. 

(This  effect  is  that  of  four  crosses  all  revolving  at  once)  towards  the 
right  (one  in  each  corner)  and  then  turning  and  revolving  towards  the 
left. 

Then  the  leaders  (No.  1's)  lead  out  from  the  centre  to  the  front  of 


—  21  — 

stage  and  around  the  sides  of  stage  to  the  rear,  the  others  in  their  lines 
following  in  their  order.  At  the  rear  centre  of  the  stage  the  leaders  meet 
and  turn  about  and  all  counterwaltz  outside  of  circle  and  around  to  the 
front  of  the  stage,  forming:  a  large  circle  with  leaders  in  front  and  the 
shortest  girls  (X<>.  S*>)  at  rear  of  stage  (Xo.  8?s  hardly  move  from  their 
position  in  forming  this  circle  and  thus  keep  the  spaces  even).  See 
Fig.  8.) 


J-- 


<oJL 


If — 1«  *° 

FIG.  8  FIG.** 

X«>.  l'-  face  each  other.  <Ts  and  3's  face  each  other  and  so  on  around 
circle,  all  facing  for  grand  right  and  left. 

All  make  a  deep  courtesy  to  partners  (8  measures)  with 
the  scarfs  in  right  hands.  Give  partner  right  hand  and  the 
next  one  your  left  hand,  etc.,  weaving  in  and  out  of  the 
circle  in  ''grand  right  and  left,"  going  in  the  same  direction  as  you 
start  with  until  partner  is  met  one  half  of  the  way  around  the  circle. 
Swing  partner  and  return  along  the  same  route  back  to  your  place. 

The  leaders  turn  and  then  lead  their  respective  lines  down  sides  of 
stage  to  the  rear  of  stage  so  there  are  two  lines  of  eight  each  along 
>kles  of  stage,  facing  the  rear.  (See  Fig.  9.) 

Both  lines  face  the  centre  and  waltz  (shoulder  to  shoulder)  slowly 
to  centre  and  fall  into  single  file  thus  forming  one  long  straight  line  down 
<  entre  of  stage.  All  face  front  (still  swinging  the  scarfs).  (See  Fig.  10.) 


FIG.10 


f    7     £    S    *    3     3.     '      '      13V^47r 
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At  the  erid  of  the  measure  all  the  M -art's  are  bropght  up  horizontally 
overhead/  From  this  position,  beginning  with  the  first  No  8,  every 
other  one  bends  way  over  to  the  right  side  and  the  others  bend  towards 
the  left  side,  8  measures  bending  over  and  8  to  come  up  again  to  position, 
Then  all  bend  to  the  opposite  side  and  up  to  position;  keeping  the  scarfs 
overhead. 

Then  number  8's  lead  off,  each  to  her  own  side,  at  front  of  stage  and 
stand  with  back  toward  front  of  stage  and  No.  7's  waltz  in  front  of  them, 
etc.,  so  that  the  lines  are  again  arranged  as  in  Fig.  9. 

Then  the  leaders  (No.  1's)  at  rear  oi!  the  stage  meet  at  the  centre  rear 
of  stage  and  waltz  diagonally  forward  to  two  crosses  on  the  floor  about 
8  feet  apart  in  centre  of  stage  and  quickly  toss  their  scarfs  up  over  their 
left  shoulders,  thus  leaving  both  hands  free  to  grasp  one  end  of  the  scarf 
of  each  girl  in  their  lines,  as  they  come  up  and  waltz  about  their  leaders. 
(See  Fig.  11.) 

The  girls  in  these  lines  retain  their  hold  of  one  end  of  their  scarfs, 
handing  the  other  end  to  their  leader  and  stretching  it  out  straight,  con- 
tinue waltzing  around  leader  in  a  circle.  When  all  of  the  scarfs  have 
been  grasped  by  the  two  leaders  the  latter  raise  their  hands  which  are 
grasping  the  scarfs  straight  up  overhead  and  form  pivots  for  the  two  re- 
volving Maypoles  thus  formed.  After  waltzing  around  leaders  in  this 
direction  8  measures  all  turn  and  grasp  scarfs  with  the  other  hands  and 
waltz  around  in  the  opposite  direction.  8  measures. 

The  leaders  turn  gradually  as  the  girls  revolve  about  them. 

This. effect  is  that  of  two  Maypoles  revolving,  one  towards  the  right 
and  the  other  towards  the  left  and  then  quickly  changing  and  revolving 
in  the  opposite  direction. 

The  leaders  (No.  1's)  then  grasp  their  own  scarfs  and  drop  the  ends 
of  the  others  and  all  resume  the  swinging  motion  of  the  scarfs  again  and 
the  leaders  lead  out  of  their  circles  and  their  lines  fall  in  single  file  and 
follow  them  down  the  sides  of  the  stage  to  the  rear  and  across  the  rear 
to  the  centre  and  all  turn  and  face  front  of  stage,  thus  forming  a  line  of 
16  across  rear  of  stage,  shoulder  to  shoulder,  and  still  keep  up  the  waltz 
step  and  swinging  the  scarfs.  (See  Fig.  12.) 

At  the  end  of  the  measure  all  advance  toxvard  the  front  with  short 
waltz  steps  until  they  reach  the  centre  of  stas^e,  and  then  No.  1's  waltz  off 
to  the  front  corners  of  stage,  followed  by  2's,  3's  and  4's  and  No.  5's 
turn,  No.  6's,  7's  and  8's  following  No.  5's,  Avaltz  diagonally  towards  the 
rear  corners  of  the  stage.  (See  Fig.  13.) 


.--<•*>*,- 


A>*^;, 

*       FIO.I3    A  FIGr.  1 4 


—  23  — 

At  the  end  of  the  measure  ISTo.  1/s  and  No.  5's  counterwaltz  their 
lines  and  waltz  to  centre.  (See  Fig.  14.) 

All  tu I'll  to  form  a  large  wheel  very  close  together  and  all  with  right 
shoulders  towards  the  centre.  Hands  should  be  placed  on  hips,  holding 
the  scarfs  loosely  across  front  of  body.  No.  3's  and  47s  and 
T's  and  8's  turn  and  face  in  opposite  direction  and  as  the 
\vheel  revolves  towards  the  right,  these  two  at  the  end  OL 
each  line  who  are  facing  the  opposite  way  waltz  around  the 
outside  until  they  reach  their  lines  they  left.  Then  they  face  about  and 
all  go  in  the  same  direction  toward  the  right.  This  effect  is  that  of  a 
large  wheel  revolving  towards  the  right,  those  on  the  outside  taking 
longer  steps  and  those  in  the  centre  taking  very  short  ones-,. 

The  leaders  lead  out  of  this  wheel  turning  towards  each  other  first 
and,  followed  by  their  respective  lines,  lead  off  right  and  left  single  file 
to  -ides  of  stage,  down  sides  to  rear  and  off  stage  to  the  wings. 

Summary  of  the  scarf  drill  in  a  condensed  form: 

1.    Bow. 

'I.    Four  columns. 

3.  Intersection. 

4.  Four  columns. 
Cross  and  kneel. 

Cross  back  and  four  hands  across. 

7.  To  sides — big  circle. 

8.  Bow. 

9.  Grand  right  and  left. 

10.  To  sides  and  face  centre. 

11.  To  centre  and  bend  over. 

12.  Around  to  sides. 

13.  Maypoles. 

14.  To  front. 
I-").  Down  sides. 

16.  16  across. 

17.  Forward  to.  centre. 

18.  To  corners. 

T.».  Counterwaltz  to  centre. 

•20.  To  star. 

81.  Wheel. 

22.  Opposite. 

23.  Off  stage. 


Wooden  Shoe  or  Dutch  Drill. 

Any  even  number  of  girls  or  young  ladies  may  take  part  in  this  drill. 
Eight  is  a  good  number.  The  hair  is  worn  down  in  two  braids  and  all 
wear  wooden  shoes.  This  drill  is  more  effective  if  all  are  dressed  in  short 
Dutch  costume. 

Music  used  is  "The  Lauterbach  Waltzes."  The  girls  skip 
heavily  in  on  the  stage  single  file  and  all  bow  in  line  across  rear  of  stage. 
These  bows  are  made  as  ridiculous  as  possible,  toes  in,  etc.,  and  the  hands 
on  hips.  In  this  position  they  execute  the  following  steps: 

First  Step. 

1.  Waltz  step  forward  1 — 2 — 3,  beginning  with  the  left  foot. 

2.  The  same  step  backward,  beginning  with  the  right  foot. 

3  and  4.    During  these  two     measures  repeat     the  waltz   step   turning 
around  towards  the  left.     Total  4  measures. 
Eepeat  the  above  to  16  measures. 

By  this  time  the  girls  will  have  readied  the  front  of  the  stage.  All 
turn  quickly  and  face  the  rear  and  begin  the  next  step  towards  the  rear 
of  the  stage  with  backs  to  the  audience. 

Second  Step. 

On  the  first  beat  of  the  measure  hop  with  feet  apart,  coming  down 
heavily  on  the  feet  and  hold  this  position  during  the  rest  of  the  first 
measure. 

On  3  hop  again,  bringing  heels  together. 

Then  1 — 2 — 3 — 4  running  steps  and  hold  to  the  end  of  the  fourth 
measure.  Total  4  measures. 

Repeat  to  16  measures. 

The  girls  are  now  at  the  rear  of  the  stage.  All  face  the  front  quickly 
and  start  the  third  step. 

Third  Step. 

On  the  first  beat  of  the  measure  all  hop  (with  hands  on  i.ach  other's 
shoulders)  on  the  left  foot  and  extend  the  right  foot  to  the  rear.  On  the 
third  beat  of  this  first  measure  hop  again  on  the  left  foot  and  keep  right 
foot  extended  at  the  rear. 

On  the  first  beat  of  the  next  measure  all  hop  on  right  foot  and  ex- 
tend the  left  foot  to  the  front.  On  the  third  beat  of  this  same  measure 
hop  again  on  the  right  foot  and  extend  the  left  foot  to  the  front.  Total 
2  measures. 


Repeat  the  above  to  1(5  measures,  advancing  gradually  to  the  front 
of  the  stage. 

All  face  to  rear,  join  hands  and  form  a  circle,  then  circle  to  the 
right  and  then  to  the  left,  first  hopping  on  the  left  foot  and  extending 
the  right  out  at  the  right  side  and  then  hopping  on  the  right  foot  and 
extending  the  left  foot  out  at  the  left  side. 

Execute  this  step  during  10  measures. 

Then  all  pair  off  and  leave  the  stage  repeating  the  above  step,  part- 
ners facing  each  other  and  holding  each  other's  hands. 

A  little  encore  in  this  drill  (for  it  always  is  encored)  follows. 

K  SCORE. 

Run  onto  the  stage  heavily  single  file  and  bow.  The  waltz  now 
changes  to  a  quick  jig.  The  girls  rune  their  hands  on  their  hips  and  jig 
for  32  measures. 

Jig   Step. 

(hi  1 — Touch  left  heel  diagonally  forward  on  floor. 
On  2 — Touch  left  toe  on  floor  at  right  toe. 
On  3 — Same  as  1. 

On   4 — Same  as  2.  only  bring  the  left  toe  to  the  right  heel.     Then  the 
>ame  step  with  the  right,  foot. 

After  "jigging"  during  32  counts  all  face  right  and  grasp  the  braids 
of  hair  of  the  one  in  front  of  them  or  else  place  the  left  hand  on  the  front 
neighbor's  left  shoulder  and  the  other  hand  on  her  right  hip  In  this 
position  take  the  following  step  in  leaving  the  stage  to  waltz  time  again. 

On  1 — Step  forward  with  the  left  foot. 

On  2 — Bring  right  foot  forward,  letting  the  heel  strike  the  floor    with 

a  click. 
On   3 — Bring  right  foot  back,  letting  heel  strike  floor  with  a  click. 

On  1  of  the  next  measure  stamp  hard  with  the  left  foot  and  bow 
bead  towards  the  right  side  with  a  little  jerk.  Hold  in  this  position 
during  the  other  two  beat-  of  this  measure. 

This  step  requires  two  measures  of  waltz  time. 

Repeat  this  step  until  all  an-  off  the  stage. 


A  Hoop  Drill  for  Little  Girls. 


Any  even  number  may  take  part  in  this  drill. 

To  march  time  all  enter  single  file,  skipping-  and  holding  hoop  high 
overhead  perpendicularly.  (The  hoops  may  be  decorated  with  flowers  or 
tinsel  or  in  any  pretty  way.) 

Each  one  then  holds  the  hoop  out  at  the  side  in  her  right  hand  and 
all  form  a  circle,  taking  hold  of  the  hoops,  so  that  there  is  a  hoop  be- 
tween each  two  girls. 

Circle  towards  the  right  8  counts  and  then  towards  the  left  8  counts. 
Then  march  down  the  centre  by  twos  with  hoops  held  out  at  right  side, 
the  shortest  girls  in  front.  All  now  hold  the  hoop  in  front  of  the  face 
peeking  through,  and  bend  slowly  forward  from  the  waist  during  4 
counts. 

Then  in  4  counts  straighten  to  upright  position. 

Then  bend  slowly  towards  the  right  during  4  counts.  Then  in  4 
counts  return  to  former  position. 

Same  to  the  left  and  up. 

Then  forward  and  up  again,  thus  using  32  measures  of  inarch  time. 

Peek  through  hoop  and  bend  towards  each  other  during  2  counts, 
then  bend  away  from  each  other  during  2  counts,  4  times  each. 

Hold  hoops  perpendicularly  in  front  of  face  and  in  this  position 
rotate  them  towards  the  right  4  times; 

Same  to  the  left  4  times. 

On  1 — Step  diagonally  forward  with  the  right  foot,  bringing  hoop  per- 
pendicularly overhead. 

On  2 — Bend  over  and  touch  the  upper  rim  of  hoop  to  the  floor  in  front 
of  the  right  foot. 

On  3 — Same  as  1. 

On  4 — Position  with  heels  together  and  hoop  down  in  front. 

Repeat  this  exercise  4  times  to  the  right  side,  4  times  to  the -left 
side  and  4  times  alternately, 

All  fall  in  line  single  file  and  carry  the  hoops  loosely  at  right  side  in 
the  right  hand.  March  around  the  stage  single  file  and  down  the  centre 
to  front  by  fours. 

In  this  position 


On  1 — Swing  the  hoop  from  right  to  left  (grasping  it  with  both  hands) 
and  at  the  same  time  hopping  on  left  foot  and  swinging  right 
foot  across  in  front  of  left  foot. 

On  2 — Eepeat  the  same  to  right  side. 

On  3 — Step  forward  with  left"  foot  and  hold  hoop  in  back  of  head  per. 
pendicularly. 

On  4 — Step  forward  with  risrht  foot  and  hoop  still  overhead. 

Then  repeat  the  same  step,  only  on  3  and  4  step  backward  instead  of 
i  or  ward. 

Repeat  this  whole  step  during  32  counts. 

Then  hold  hoop  in  right  hand  and  each  of  the  four  grasp  her  neigh- 
bor's hoop  with  her  left  hand  and  all  hold  hoops  out  at  the,  sides  shoulder 
height. 

In  this  position  execute  the  following  step: 

On  1 — Swing  hoops  downward  and  backward  and  at  the  same  time  bend 

forward  from  the  waist  and  hop  on  left  foot  and  extend  right  foot 

to  the  rear. 
On  2 — Same  as  1. 
On  3 — Hop  on  right  foot  and  extend  left  foot  to  the  front,  at  the  same 

time  swinging  hoops  forward  and  upward  overhead. 
On  4 — Same  as  3. 

Repeat  this  exercise  during  16  eonms. 

Then  each  one  t  akes  her  hoop  and  places  it  over  her  head  and  lowers 
it  to  her  waist  and  all  fall  in  single  file  and  drive  each  other  off,  usins 
the  hoop  of  the  one  in  front  for  reins.  All  march  off  in  this  way. 


Minuet  No.  1. 

The  minuet  is  very  graceful  and  dignified  and  from  the  start  to  tl.e 
f  nish  it  should  be  one  continuous  movement. 

The  costumes  should  be  in  the  st}fle  of  Louis  XIV.  In  this  minuet 
half  of  the  members  may  be  dressed  as  gentlemen  and  half  as  ladies  or 
all  of  the  eight  may  be  dressed  as  ladies,  wearing  bodices  cut  square  in 
the  neck,  with  over  .dresses  of  figured  material  over  plain  petticoats  of 
white  or  colored  goods,  powdered  hair  ornamented  with  flowers  or  feath- 
ers and  patches  of  court  plaster  on  the  face.  The  gentlemen  wear  square 
cut  coats  of  satin  trimmed  with  lace,  ruffled  shirts  with  lace  about  wrists 
and  neck,  white  silk  hose  and  large  buckles  on  slippers. 

Music:     Oxford  Minuet. 

All  of  the  movements  in  this  minuet  are  executed  with  the  single 
touch  step,  i.  e: 

On  1 — Touch  the  left  toe  forward. 
On  2 — Step  forward  with  left  foot. 
Same  with  right  foot. 

The  eight  may  be  in  position  as  for  a  quadrille  when  the  curtain 
rises,  or  may  enter  with  the  single  touch  step,  or  with  the  following  step: 

Take  partners  hand  and  hold  high. 
On  1 — Step  forward,  each  with  the  outside  foot. 
On  2 — Step  forward  with  the  inside  foot. 
On  3 — Step  forward  with  the  outside  foot. 
Qn  4 — Touch  forward  with  the  inside  foot  (pointing  the  toe  downward). 

Then 

On  1 — Step  backward  with  the  inside  foot. 

On  2 — Step  backward  with  the  outside  foot. 

On  3 — Step  backward  with  the  inside  foot. 

On  4 — Touch  forward  with  the  outside  foot,  looking  forward  at  partners. 

Then  continue  this  step,  starting  again  with  the  outside  foot  until 
the  eight  gradually  take  their  positions  for  the  minuet  with  the  gentle- 
men standing  to  the  left  of  their  lady  partners. 

NOTE.— Ladies  may  carry  fans  throughout  the  exercise  and  gentlemen  three 
cornered  hats. 


—  29  — 

Figure    1.    All  partners  bow  and  courtesy  iu  2  measures. 

Figure    2.    Comers  bow  and  courtesy  in  2  measures. 

Figure    3.    Taking  the  single  touch  step  head  couples  advance  to  centre. 

bow  and  courtesy,  and  return  to  places. 
Figure    4.    Sides  the  same. 
Figure    5.    Form  into  two  lines  facing  each  other  up  and  down  the  stage, 

the  couples  in   front  and  rear  of  stage  dividing  and  taking 

places  beside  those  in  the  other  lines. 
Figure    (>.    'All  advance  to  centre,  bow  and  courtesy. 
Figure    T.    Return  to  places  as  at  the  start  and  partners  bow  and  courte-y 
i-igure    8.    First  and  second  couples  to  centre  and  turn  the  opposite — 

then  back  to  places  and  all  bow  and  courtesy. 

Figure    J).    Side  couples  the  same  and  all  partners  bow  and  courtesy. 
Figure  10.    Four  ladies  to  the  centre  and  courtesy. 

Return  to  places  and  courtesy. 
Figure  11.    Four  gentlemen  the  same. 
.  Figure  12.    All  forward  to  the  centre,  bow  and  courtesy.     Ladies  cross 

right  hands  and  promenade  half  round,  holding  fans  in  le^t 

hands.  Turn  and  cross  left  hands  and  promenade  half  roun1. 
Figure  13.    Partner-  bow  and  courtesy  deeply. 
Figure  14.    Return  to  places,  bow  and  courtesy. 
Figure  15.    All  forward,  holding  hands  high  and  swing  ladies  to  centre. 

Gentlemen  retreat  and  return  facing  outside  and  join  hands, 

holding  them  very  high.    Ladies  march  out  with  single  touch 

step  from  under  the  arches,  each  going  to  her  place. 
Figure  10.    Partners  bow  and  courtesv. 
Figure  IT.    Swing  to  place,  bow  and  courtesy  again. 
Figure  18.    All  advance  to  centre  and  turn  towards  the  left  with  right 

arm  towards  the  centre.     All  raise  right  hands  high,  so  they 

are    all  together  in  the  centre,left    hands    holding   fans  and 

hat<  outside  at  right  angles  and  very  gracefully. 
Figure  19.    Revolve  this  wheel,' all  taking  the  single  touch  step. 
Figure  20.    Turn  and  revolve  in  the  opposite  direction  with  left  hands  up 

in  the  centre  and  right  hands  holding  fans  and  hats. 
Figure  21.    Gradually  form  in  line  with  partners  and  march  off  of  stage 

as  they    entered  or  have    the    curtain    lowered  as  they  are 

formed  in  a  wheel. 

NOTE.— The  ladies  courtesv  very  deeply,  using  their  fans  gracefully  and  bring- 
ing one  foot  in  back  of  the  other.  The  gentlemen  stand  with  heels  together  and 
bend  from  waist,  bringing  the  hats  from  their  left  shoulders  with  a  sweep  down 
from  the  right  and  then  up  to  left  shoulders  as  they  resume  their  upright  position. 

In  making  the  deep  bow  and  courtesy,  bend  knees  as  much  as  possible  and 
gradually  slide  one  toot  out  straight  in  front,  so  that  the  body  is  brought  very 
near  to  the  floor. 


Minuet  No.  2. 

Music:    Oxford  Minuet. 

16  is  a  good  number  to  make  this  minuet  effective. 

Enter  from  the  rear  by  couples  with  the  follow  step,  i.  e.: 

On  1 — Step  forward  with  the  left  foot. 
On  2 — Bring  the  right  toe  up  to  the  left  heel. 
Same  witli  the  right  foot. 

When  all  are  down  the  center  of  the  stage  by  couples  all  advance  to 
front  of  stage  with  the  following  step: 

On  1 — Cross  the  outside  foot  away  over  in  front  and  beyond  the  other 
foot,  inclining  the  body  in  the  opposite  direction. 

On  2 — Touch  the  outside  foot  forward,  pointing  the  toe  downward. 

On  3 — Step  forward  with  outside  foot. 

On  4 — Cross  and  touch  with  the  inside  foot  way  over  in  front  of  the 
outside  foot,  inclining  the  body  in  the  opposite  direction. 

Then  the  whole  step  is  taken,  starting  with  the  other  foot. 

Execute  this  step  during  8  measures. 

Then  face  partners,  bow  and  courtesy  deeply,  taking  4  measures  to 
go  down  and  4  to  come  up. 

Then  the  couple  leading,  followed  by  the  others,  separate  and  pass 
around  the  sides  of  stage  to  the  rear  centre  of  sta.av  with  the  follow! ng 
step : 

On  1 — Step  forward  with  inside  foot  and  swing  the  body  half  way  around 
toward  the  outside. 

On  2 — 3  hold  this  position. 

On  4 — Step  forward  with  the  same  foot.  Then  take  this  same  step,  start- 
ing with  the  outside  foot  and  turning  the  body  toward  the  inside. 

When  the  leaders  meet  at  rear  centre  of  stage  they  bow  and  courtesy 
and  advance  to  front  of  stage  with  the  same  step.  As  each  couple  meet 
they  repeat  the  same  until  all  are  in  line  again  up  and  down  the  centre  of 
the  stage  by  twos. 

All  face  partners  and  raise  right  arms,  taking  hold  of  partners'  right 
hands  and  peek  under  hands  of  partners,  touch  forward  at  the  same  time 
with  right  toe.  Then  repeat  the  same  with  left  hands  and  left  feet. 
Total  8  measures. 

The  last  time  hold  the  position,  peeking  at  partners  during  8  meas- 
ures. All  bow  and  courtesy  to  partners  during  8  measures.  March  off 
t,he  stage  by  twos  with  the  follow  step. 


Wooden  Doll  Drill. 


This  drill  may  be  executed  by  eight,  sixteen,  twenty  or  twenty-four. 
-and  should  be  accompanied  by  a  brisk,  catchy  march  music. 

Half  of  the  number  may  be  boys  and  half  girls,  or  the  entire  number 
may  be  girls,  dressed  as  dolls,  with  short  dresses,  wavy  hair  and  painted 
cheeks.  All  of  the  movements  in  the  drill  are  very  stiff,  to  represent 
wooden  or  jointed  dolls. 

1.  All  march  in  single  file  without  bending  the  knees,  throwing  the 
feet  forward  as  they  march.  The  forefinger  of  the  left  hand  is 
held  stiffly  to  the  mouth  and  the  right  hand  is  held  straight  for- 
ward. The  motions  as  they  march  in.  are  very  jerky  and  the 
''dolls'7  should  look  neither  left  nor  right  but  straight  ahead. 

'2.  After  marching  in  this  manner  around  the  room,  or  stage,  march 
down  the  centre  in  the  same  way.  except  with  both  hands  held 
>traight  forward,  shoulder  height.  When  the  front  of  the  stage 
is  reached,  keep  the  hands  in  this  position  and  mark  time  stiffly  in 
place,  throwing  the  feet  forward. 

3.  Turn,  -o  that  the  two  lines  are  facing  each  other  and  mark  time 

until  the  end  of  the  measure  of  music.    Lower  the  arms. 

4.  In  eight  counts  going  down  and  eight  counts  coming  up  make  a 

bow,  bending  only  from  the  waist.  Make  this  bow  by  eight  suc- 
ve  jerks  o-oing  down  and  the  same  in  coming  up  to  position. 

•V  On  1  stamp  the  right  foot.  On  2 — 3 — i  raise  the  hands  straight  for- 
ward to  shoulder  height.  On  5 — 6  bring  right  hand  vstiffly  to 
mouth  and  on  7 — 8  straighten  arm  out  in  front  again  (as  though 
throwing  a  kiss). 

6.  Military  Salute  with  right  hand,  touch  forehead  with  the  fingers  of 
right  hand  in  four  counts  and  both  hands  down  at  sides  in  four 
counts.  (All  of  these  movements  are  done  with  short  jerks.) 

?.  Do-si-do  around  opposite  partners.  Those  in  two  lines  advance  to- 
wards each  other  to  the  centre  and  pass  through  the  lines,  taking 
16  counts  for  it,  and  then  pass  around  partner  (back  to  back)  and 
back  up  to  places  in  U'>  counts  more.  Keep  the  lines  straight  in 
doing  this. 

8.  In  each  set  of  fours  each  "doll""  turns,  so  that  the  right  hand  helps 
form  the  centre  of  a  wheel.  The  right  hand  is  held  out  straight 
and  all  of  the  wheels  or  crosses  thus  formed  revolve  toward  the 


—  32  — 

right  during  eight  counts.  All  ti.rn  and  use  the  left  hands  as  the 
pivots  and  the  crosses  revolve  toward  the  left  during  eight  counts. 
9.  In  separating  from  these  crosses  the  two  lines  again  form,  hut  the 
hacks  are  toward  the  centre  and  all  mark  time  stiffly  with  hands 
held  rigid  at  sides. 

10.  In  this  position  the  lines  march  away  from  each  other  during  right 

counts,  turn  about  and  mark  time  in  place  until  the  end  of  th-j 
measure. 

11.  Mark  time  and  at  the  same  time  raise  the  left  hand  and  lower  right 

hand  and  then  change  and  lower  the  left  hand  and  raise  the  right 
hand  (a  regular  see-saw  motion).  Repeat  this  until  end  of 
measure. 

\'2.  Raise  the  arms  sidewise,  finger  tips  touching  those  of  the  ones  next 
and  the  lines  (perfectly  straight)  march  towards  each  other  eight 
steps.  ' 

13.  In  the  same  position  march  backward  again  eight  steps. 

14.  Same  forward  eight  counts. 
"15.    Mark  time  during  eight  counts. 

16.  Fall  against  each  other  (chests  touching,  heads  to  the  left)  very 
stiffly  as  though  tired  out,  but  not  bending  the  body.  The  lines 
must  not  be  to  close  together.  There  should  be  a  loud  crash  of 
music  when  the  dolls  fall  towards  each  other.  Hold  this,  position 
during  eight  counts  and  then  turn  and  face  the  front  and  marl: 
time. 

IT.  March  out  by  twos,  hands  down  at  sides.  As  the  left  foot  touches 
the  floor,  slide  the  right  foot  back  with  knee  unbent  and  bend 
forward  at  the  waist.  As  the  right  foot  touches  the  floor  the  body 
comes  to  the  upright  position  and  the  left  foot,  knee  unbent,  is 
brought  forward  with  a  jerk. 


"Dixie." 

"Dixie"  is  a  little  fancy  dance  which  should  be  executed  by  two 
girls  who  are  very  graceful. 

The  costume  may  be  either  a  gymnasium  suit  or  a  short  white  dress. 
Over  the  dress  or  suit  a  high  girdle  should  be  worn  which  is  covered  by 
one  inch  strips  of  red  and  white  and  blue  cambric  sewed  together,  the 
lower  ends  being  left  loose  from  the  w^aist  down  to  the  edge  of  the  skirt 
or  bloomers,  thus  forming  a  red,  white  and  blue  overskirt  which  shows 
the  dress  or  suit  between  the  strips  of  cambric. 

The  music  is  "Way  Down  in  Dixie." 

In. all  of  the  steps  in  this  drill  each  of  the  two  dancers  starts  with  the 
outside  foot. 

Start  from  the  rear  of  the  stage. 

1st  Step.     Slide  step  diagonally  forward  with  the  outside  foot  on  1. 

On  2 — Bring  inside  foot  up  to  the  other  foot. 

On  3  and  4  take  two  short  slide  steps  towards  the  outside, 
starting  with  the  outside  foot. 

Repeat  the  same  step  1 — 2 — 3 — 4,  starting  with  the  inside 
foot. 

Eepeat  this  step,  starting  with  outside  and  inside  foot  alter- 
nately during  eight  measures.  Then  quickly  face  half 
way  about  and  execute  the  following  "jig"  step: 

2nd  Step.    On  1 — Step  quickly  forward  with  the  outside  foot  and  then 
quickly  bring  the  inside  foot  up  to  the  other  foot. 

On  2 — Step  quickly  backward  with  the-  outside  foot  and  bring 
the  inside  foot  back  to  the  other  foot. 

On  3 — Eepeat  this  same  step,  starting  with  the  inside  foot. 

On  4 — Same  as  on  2,  starting  with  the  inside  foot. 

NOTE.— This  step  must  be  executed  very  quickly  during  8  measures  of  music. 

3rd  Step.     On  1 — Hop  on  outside  foot  diagonally  forward,  arms  carried 
parallel  in  the  same  direction,  left  leg  straight,  foot  off  of 
floor,  toes  pointed  down. 
On  2 — Same  as  1. 

On  3 — Hop  again,  the  same  MS  on  1  and  •} 
On  4— Same  a?  1-  •?  -3 


—  34  — 

Then  the  same  4  hop  steps  are  executed  towards  each  other, 

starting  with  the  inside  foot  and  arms  carried  in  that  di- 
rection gracefully. 
Repeat  this  step  alternately  during  4  measures  to  the  front  of 

the  stage.    Turn  quickly  and  execute  the  same  step  during 

4  measures  towards  the  rear  of  the  stage  and  turn  about 

quickly. 
4th  Step.    On  1 — Kick  low  with  the  outside  foot  and  at  the  same  time 

hop  on  the  inside  foot. 

On  2 — Heels  together  and  hop  on  both  feet. 
On  3 — Kick  high  with  the  outside  foot  and  at  the  same  time 

hop  on  the  inside  foot  (toes  should  be  pointed  downward). 
On  4 — Heels  together  and  hop  on  both  feet  slightly. 
Eepeat  this  same  step  1 — 2 — 3 — 4,  starting  with  the  other 

foot. 

Continue  this  step  with  eight  measures  of  music. 
5th  Step.    The  dancers  are  now  at  the  front  of  he  stage. 

Execute  the  draw  step  towards  each  other,  starting  each  time 

with  the  inside  foot,  two  steps  to  each  measure.  Repeat  four 

draw  steps,  starting  with  the  inside  foot  and  then  four, 

starting  with  the  outside  foot  and  going  from  each  other. 
The  Draw  Step.     On  1 — Slide  inside  foot  diagonally  rear  and  draw  the 

other  foot  back  to  the  inside  foot. 
On  2' — Same. 
On  3— Same. 
On  4 — Same. 
Then  repeat  the  same  four  times,  starting  with  the  outside 

foot. 
AYhen  the  draw  step  starts  with  he  inside  foot  the  partners 

draw  'hear  each  other  and  when  with  the  outside  foot  the 

partners  separate. 
6th  Step.     On  1 — Cross  the  outside  foot  over  in  front,  touching  the  floor 

with  the  pointed  toe  of  the  outside  foot,  and  at  the  same 

time  hop  011  the  inside  foot. 
On  2 — Kick  quickly  forward  with  the  outside  foot  and  at  the 

same  time  hop  again  on  the  inside  foot. 
On  3 — Change   quickly,   repeating  the   same   as   on   1,   only 

starting  with  the  inside  foot. 

On  4 — Same  as  on  2,  only  start  with  the  inside  foot. 
Repeat  this  step  alternately  during  eight  measures. 
This  brings  the  dancers  to  the  front  of  the  stage.    Both  face 

to  the  left  and  execute  a  simple  cake-walk  step  around  the 

stage  once,  and  then  off. 
Cakewalk  Step.    On  1 — Hop  on  the  left  foot  and  bring  the  right  toe  to 

the  left  heel,  the  right  heel  raised  from  the  floor. 
On  2 — Hop  forward  on  the    right    foot    with    the    left    foot 

moved  to  the  right  heel  as  on  1. 
Continue  this  step  until  off  of  the  stage. 


A  Simple  Indian  Club  Drill. 

Music:     Waltz  Time. 


Any  number  may  participate. 

The  correct  starting  position.  Heels  should  be  together,  body  up- 
light,  chest  high,  chin  in,  clubs  held  upright  in  front  of  shoulders. 

In  holding  Indian  clubs  bo  sure  not  to  grasp  them  too  tightly  and 
keep  the  wrists  and  arms  flexible  instead  of  ten-e. 

Exercise    1.     1.  Full  outside  swing  with  the  right  arm. 

2.  Return  to  starting  position. 

3.  Repeat  1 

4.  Repeat  1. 

5.  Same  as  1,  only  with  the  left  arm. 

6.  Repeat  2. 

7.  Repeat  5. 

8.  Repeat  6. 

Fxercise    2.     1.  Full  inside  swing  across  front  of  body  with  the  right 
arm. 

2.  Return  to  starting  position. 

3.  Repeat  1. 

4.  Repeat  2. 

5.  Same  as  1,  only  with  the  left  arm. 

6.  Repeat  2. 

7.  Repeat  5. 

8.  Repeat  6. 

Fxercise    3.     1.  Full  outside  swing  with  the  right  arm. 

2.  Return  to  starting  position. 

3.  Full  outside  swing  with  the  loft  arm. 

4.  Position. 

5.  Full  outside  swing  with  both  arms. 

6.  Position. 
;.  Repeat  5. 
8.  Repeat  6. 


—  36  — 

Exercise    4.     1.  Full  inside  swing  with  the  right  arm. 

2.  Eeturn  to  starting  position.n 

3.  Full  inside  swing  with  the  left  arm. 

4.  Position. 

5.  Full  inside  swring  'with  both  arms. 

6.  Position. 

7.  Eepeat  5. 

8.  -Repeat  6. 

Exercise    5.     1.  Full  outside  swing  with  both  arms. 

2.  Return  to  starting  position. 

3.  Full  inside  swing  with  both  arms. 

4.  Position. 

5.  Repeat  1, 

6.  Repeat  2. 

7.  Repeat  3. 

8.  Repeat  4. 

Exercise    6.     1.  Keeping  the  arms  and  club*  parallel,   swing  them  to- 
ward the  right. 

2.  Return  to  starting  position. 

3.  Repeat  1. 

4.  Repeat  2. 

5.  Same  as  1,  swinging  the  clubs  toward  the  left  side. 

6.  Same  as  2. 

7.  Repeat  5. 

8.  Repeat  2. 

Exercise  7.  1.  Keeping  the  arms  and  clubs  parallel,  swing  them  to- 
wards the  right  side. 

2.  Return  to  starting  position. 

3.  Same  as  1,  swinging  the  clubs  toward  the  left  side. 

4.  Same  as  2. 

5.  Repeat  1. 

6.  Repeat  2. 

7.  Repeat  3. 

8.  Repeat  2. 

Exercise  8.  Swing  clubs  parallel  to  right  side  and  around  to  left  side 
around  to  shoulder  height. 

2.  Same  to  right  side,  shoulder  height. 

3.  Same  as  1. 

4.  Keeping   clubs   parallel   continue  (3)  in   a  large   circle 

around  to  position. 
Repeat  (1),  starting  in  the  opposite  direction. 

6.  Repeat  (2)  to  left  side. 

7.  Same  as  (1)  to  opposite  side. 

8.  Repeat  (4)  to  opposite  side. 

K. \crcisc  9.  1.  Outside  swing  with  both  clubs  and  bring  them  up  to 
horizontal  position  resting  back  on  the  forearms 
which  are  crossed  in  front  of  body,  shoulder  height. 


—  37  — 

2.  Swing  from  above  position  downward  and  around  and 

let  the  clubs  rest  back  on  the  forearms  horizontally  at 
sides,  shoulder  height. 

3.  Eepeat  1. 

4.  Eepeat  2. 

5.  Carry  both  clubs  parallel  to  right  side  and  let  them  fall 

back  upon  the  forearms  horizontally,  shoulder  height 
at  left  side. 

6.  Carry  around  to  right  side  in  the  same  way. 

7.  Same  as  5. 

8.  Swing  around  to  position. 

Exercise  10.     1 — 2 — 3.     Three    continuous    large  circles    with    straight 

arms  towards  right. 

4.  Another  large  circle  and  return  to  position. 
5—6—7—8.  Repeat  1—2—3—4. 
Exercise  11.     Same  as  exercise  10  to  the  left  side. 
Exercise  12.     Alternate  exercises  10  and  11. 

Exercise  13:     1.  Swing  large  outside  circle  to  the  right  side  with  right 
club. 

2.  A  "dip"  or  small  outside  circle  in  back  of  right  shoulder 

with  the  right  hand. 

3.  Eepeat  1. 

4.  Repeat  2. 

5.  Bepeat  1  to  left  side  with  left  hand. 

6.  Eepeat  2  to  left  side. 
~  7.  Eepeat  5. 

6  Bepeat  6. 

Exercise  14.     1  and  2.  Swing  and  dip  to  right  side  as  in  exercise  13. 
3  and  4.  Same  to  left  side. 
5  and  6.  Bepeat  1  and  2. 

7  and  8.  Bepeat  3  and  4. 

Exercise  15.     1.  Full  inside  circle  with  the  right  hand. 

2.  Inside    "dip"    or    small    inside  circle  in  back  of  right 

shoulder  with  right  hand. 

3.  Bepeat  1. 

4.  Bepeat  2. 

5.  Bepeat  1  to  left  side  with  left  hand. 

6.  Bepeat  2  to  left  side. 

7.  Bepeat  5. 

8.  Bepeat  6. 

Exercise  16.     1  and  2.  Swing  and  dip  to  right  side  with  right  hand  as  in 

exercise  15. 

3  and  4.  Same  to  left  side. 
5  and  6.  Eepeat  1  and  2. 
7  and  8.  Bepeat  3  and  4. 
Exercise  17.     1.  Outside  swing  (full  arm)  with  both  hands. 

2.  Outside  "dip"  or  small  circles  in  back  of  shoulders  with 
both  hands. 


—  38  — 

3.  Inside  full  arm  circle  with  both  hands. 

4.  Inside  ''dip"  or  small  circle  in  back  of  shoulders  with 
.  both  hands. 

5.  Repeat  1. 

6.  Repeat  2. 

7.  Repeat  3, 

8.  Repeat  4. 

Exercise  18.  1.  Full  arm  swing  around  to  right  side,  arms  and  clubs 
parallel, 

2.  "Dip"  parallel  with  both  hands  in  back  of  shoulders 

to  right. 

3.  Repeat  1. 

4.  Repeat  2. 

5.  Repeat  1. 

6.  Repeat  2. 

7.  Repeat  1. 

8.  Repeat  2. 

Exercise  19.     Same  as  exercise  18  to  the  left  side. 

Exercise  20.     1.  Small  outside  "dip"  in  back  of  right  shoulder  and  the 

same  time  a.  large  inside  circle  across  in  front  of  body 

with  left  hand. 

2.  Carry  both  clubs  parallel  over  to  left  side. 

3.  Same  as  1  to  left  side. 

4.  Same  as  2  to  right  side. 

5.  Repeat  1. 

6.  Repeat  2. 

7.  Repeat  3. 

8.  Repeat  4. 

Exercise  21.  1.  Large  full  arm  circle  to  right  side  with  right  club  and 
at  the  same  time  a  small  outside  dip  in  back  of  left 
shoulder  with  left  club. 

2.  Large  full  arm  circle  to  left  side  with  left  club  and  at 

the  same  time  a  small  outside  dip  in  back  of  right 
shoulder. 

3.  Repeat  1. 

4.  Repeat  2. 

5.  Repeat  1. 
fi.  Repeat  2. 

7.  Repeat  1. 

8.  Repeat  2. 

Exercise  22.     Same  as  exercise  2-1,  only  with   inside  circles  and  inside 

dips. 
Exercise  23.     Same  as  exercise  21,  only  a  follow  movement,  not  having 

the  circle  and    dip    move    together    but  follow  each 

other. 
Exercise  24.     Same  as  exercise  22,  only  with  a  follow  movement  instead 

of  together. 


A  Simple  Dumbbell  Drill. 

Music:     March  Time. 


Exercise    1.     1.  Touch  left  toe  forward  and  extend  left  bell  forward, 

shoulder  height. 

'2.  Position  with  heels  together  and  bells  in  front  of  the 
chest. 

3.  Eepeat  1. 

4.  Eepeat  2. 

Same  as  1  with  right  foot  and  right  bell. 

6.  Repeat  2. 

7.  Repeat  5. 

8.  Repeat  2. 

Exercise    2.     1.  Touch  left   toe  forward  and  evtend  left  bell  forward, 
shoulder  height  as  in  exercise  1. 

2.  Position  with  heels  together  and  bells  in  front  of  chest. 

3.  Same  as  1  with  right  foot  and  right  bell. 

4.  Repeat  2. 

5.  Touch  left  toe  forward  and  extend  both  bells  forward, 

shoulder  height. 

6.  Position  with  heels  together  and  bells  at  chest. 

T.   Same  as  5,  touching  with  right  foot  instead  of  left  foot. 
8.  Position. 

Exercise    3.     1.  Touch  left  toe  at  left  side  and  extend  left  bell  at  left 
-ide,  shoulder  height. 

2.  Position,  with  bells  in  front  of  the  chest,  and  heels  to- 

gether. 

3.  Repeat  1. 

4.  Repeat  2. 

5.  Same  as  1  with  right  foot  and  right  bell. 

6.  Repeat  2. 

7.  Repeat  5. 

8.  Repeat  2. 


—  40  — 

Exercise    4.     1.  Touch  left  toe  at  left  side  and  extend  left  bell  at  left, 
side,  shoulder  height. 

2.  Position  with  bells  in  front  of  chest  and  heels  together. 

3.  Same  as  1,  touching  with  right  toe  at  right  side  and 

right  bell  extended  at  right  side. 

4.  Repeat  2. 

5.  Touch  left  toe  at  left  side  and  extend  both  bells  at  sides, 

shoulder  height. 

6.  Repeat  2. 

7.  Touch  right  toe  at  right  side  and  extend  both  bells  at 

sides,  shoulder  height. 

8.  Position. 

Exercise    5.     1.  Touch  left  toe  across  in  front  of  right  foot  and  raise  left 
bell  straight  up  overhead. 

2.  Position  with  heels  together  and  bells  in  front  of  the 

chest. 

3.  Repeat  '1. 

4.  Repeat  2. 

5.  Same  as  1  with  right  foot  and  right  bell. 

6.  Repeat  2. 

7.  Repeat  5. 

8.  Repeat  2. 

Exercise    6.     1.  Touch  left  toe  across  in  front  of  right  foot  and  raise  left 
bell  straight  up  overhead  as  in  exercise  5. 

2.  Position  with  heels  together  and  bells  in  front  of  the 

chest. 

3.  Same  as  1,  with  right  foot  and  right  bell. 

4.  Position  as  in  2. 

5.  Touch  left  toe  across  in  front  of  the  right  foot  and  raise 

both  bells  overhead. 

6.  Position. 

7.  Same  as  5,  with  right  toe  across  in  front  of  left  foot 

and  bells  raised  overhead. 

8.  Return  to  position. 

Exercise    7.     1.  Touch  left  toe  directly  to  the  rear  and  carry  left  bell 
straight  down  at  left  side. 

2.  Position,  with  heels  together  and  bells  in  front  of  the 

chest. 

3.  Repeat  1. 

4.  Repeat  2. 

5.  Same  as  1  with  right  toe  and  right  bell. 

6.  Repeat  2. 

7.  Repeat  5. 

8.  Repeat  2. 

Exercise    8.     1.  Touch  left,  toe  directly  to  the  rear  and  carry  left  bell 
straight  down  at  left  side. 


—  41  — 

2.  Position,  with  heels  together  and  bells  in  front  of  the 

chest. 

3.  Same  as  1,  with  right  toe  and  right  bell. 

4.  Eepeat  2. 

5.  Touch  left  toe  directly  to  the  rear  and  carry  both  bells 

straight  down  at  sides. 

6.  Repeat  2. 

7.  Same  as  5,  only  touch  right  toe  directly  to  rear. 

8.  Repeat  •>. 

Exercise    9.     1 — 2.  Position,  with  bells  in  front  of  the  chest  and  heels 

together. 
3.  Kneel  on  right  knee  and  extend  bells  forward,  shoulder 

height. 

4 — 5 — 6 — 7.  Hold  the  position  as  in  3. 
8.  Return  to  starting  position  as  on  1. 
Exercise  10.     1.  Extend  bells  forward,  shoulder  height,  heels  together. 

2.  Raise  left  bell  diagonally  left  overhead  and  lower  right 

bell  diagonally  downward  to  right  side. 

3.  Strike   bells   together,    shoulder   height,   keeping   arms 

straight. 

4.  Raise  right  bell  diagonally  right  overhead  and  lower  left 

bell  diagonally  downward  to  left  side. 
Same  as  3. 

6.  Raise  left  bell  slightly  in  front  of  body  and  at  the  same 

time  lower  the  right  bell,  letting  them  strike    each 
other  as  they  pass  each  other. 

7.  Repeat  6,  with  right  bell  raised,  and  left  lowered. 

8.  Jump  lightly  on  balls  of  feet,  heels  together,  and  at  the 
same  time  bring  bells  in  to  chest. 

Exercise  11.     1 — 2.  Position,  with  bells  in  front  of  the  chest  and  heels 

together. 

3.  Kneel  on  right  knee  and  extend  arms  sideways,  shoul- 
der height. 

4 — 5 — 6 — 7.  Hold  position  on  3. 
8.  Return  to  starting  position. 
Exercise  12.     Repeat  exercise  10. 
Exercise  13.     1 — 2.  Position,  with  bells  in  front  of  the  chest  and  heels 

together. 

3.  Kneel  on  right  knee  and  extend  bells  straight  up  over- 
head. 

4 — 5^«3 — 7.  Hold  position  as  on  3. 
8.  Return  to  starting  position. 
Exercise  14.     Repeat  exercise  10. 
Exercise  15.     1 — 2.  Position,  with  heels  together  and  bells  in  front  of 

the  chest. 

3.  Kneel  on  right  knee  and  cross  bells  in  front  of  the  chest. 
4 — 5 — 6 — 7.  Hold  position  as  on  3. 
8.  Return  to  starting  position. 


—  42  — 

Exercise  16.     Eepeat  exercise  10. 

Exercise  17.     1.  Charge  directly  forward  with  left  foot  and  raise  both 

bells  straight  up  overhead. 
2 — 3.  Hold  this  position  as  on  1. 

4.  Return  to   position,   with  heels  together  and   bells  in 

front  of  the  chest. 

5.  Charge  14  way  around  to  left  side  with  left  foot  and 
raise  both  bells  straight  up  overhead. 

6 — 7.  Hold  position  as  on  5. 

8.  Still  remaining  14   way  around  return  with  heels  to- 
gether and  bring  bells  in  front  of  the  chost. 

Exercice  18.  1.  Facing  14  way  around  as  in  8  of  exercise  17,  charge  an- 
other 1/4  of  the  way  around  towards  the  left,  raising 
both  directly  overhead. 

2 — 3.  Hold  position  as  on  1. 

4.  Return  to  position,  heels  together  and  bells  in  front  of 

the  chest,  but  still  remain  facing  in  the  same  direc- 
tion. 

5.  Charge  another  %  way  around  towards  the  left  and  ex- 

tend arms  straight  up  overhead. 
6 — 7.  Hold  position  as  on  5. 
8.  Position,  facing  front  with  heels  together  and  bells  at 

chest. 

Exercise  19.     Repeat  exercise  17  to  the  right  side  instead  of  left  and  ex- 
tending arms  horizontally  at  sides  instead  of  overhead 
Exercise  20.     Repeat  exercise  18  to  the  right  side  instead  of  the  left  side 
and  extending  arms  horizontally  at  sides  instead  of 
overhead. 


Some  Cake  Walk  Steps. 

1st  Step.     Singb  Touch  Step. 

On  1 — Touch  left  toe  diagonally  forward  to  left  side. 
On  2 — Step  forward  with  left  foot. 

Same  with  right  foot  and  continue. 
'2nd  Step.    On  1 — Slide  left  foot  way  out  at  the  left  side,  bend  body  to 

the  right  side,  let  hands  hang  loosely  at  sides. 
On  2 — Step  forward  with  left  foot,  crossing  it  in  front  of 
right  foot  as  the  step  is  taken  and  bending  body  towards 
the  right  side. 

Same  with  right  foot  and  continue. 
3rd  Step.     Step  backward  and  throw  feet  forward  alternately  as  the 

steps  are  taken  backward. 

4th  Step.     Walk  forward,  raising  knees  high  and  bending  body  back- 
ward. 

5th  Step.     Walk  forward,  bending  body  backward  very  pompously. 
6th  Step.     Walk  backward,  bending  body  over  forward. 
7th  Step.     Walk  forward,  swaying  from  side  to  side. 
8th  Step.     Walk  forward,  bending  right  knee  very  much  and  touching 

left  foot  at  left  side,  and  then  stepping. 
Same  with  opposite  foot. 

Oth  Step.     Hop  on  left  foot  and  jus:  have  the  tip  of  the  toe  of  right 
foot  touching  the  floor  and  then  hop  forward  on  right 
foot  and  just  touch  tip  of  left  toe  to  floor. 
10th  Step.     Walk  stiff-legged  without  bending  the  knees. 
11  th  Step.     Skip  with  tiny  steps. 
l*2th  Step.     Baise  the  heels  alternately  as  you  walk. 
1 3th  Step.     Face  sideways,  hopping  with  feet  apart  and  then  hop  (about 

face)  with  feet  apart  again. 
j4th  Step.     Step  forward  with  left  foot  with  kneel>ent,  and  then  quickly 

straighten  the  knee  and  jerk  the  foot  backward. 
Same  with  right  foot. 


Indian  War  Dance. 

Around  an  Indian  camp  fire  a  band  of  "make  believe"  Indians  dance 
the  following  step.  The  Indians  are  decked  in  their  Indian  costumes  and 
war  paint  and  make  the  scene  more  real  by  giving  their  yells  while  danc- 
ing. Dance  with  a  great  deal  of  spirit.  Indian  music  with  drums  is 
used  for  the  dance. 

1st  Step.  Hop  around  the  fire  single  file,  raising  knees  very  high  and 
turning  head  first  to  the  left  and  then  to  the  right  and 
waving  tomahawks. 

2nd  Step.    Stamp  with  each  foot  as  they  run  around  the  fire. 

3rd  Step.  Jump  way  up  in  the  air  and  then  run  two  steps.  Continue 
this  step. 

4th  Step.  Stamp  on  left  foot  and  than  quickly  draw  it  back.,  straight- 
ening the  left  knee.  Same  with  right  foot. 

5th  Step.  Raise  knees  high  alternately  and  raise  the  hands  alternately, 
pointing  upward  with  the  index  finger  of  each  hand. 

6th  Step.  Raise  the  heels  alternately  backward  and  slap  the  soles  of  the 
feet  with  the  hands  as  they  are  brought  up  in  back. 

7th  Step.  Spring  diagonally  forward  on  left  foot  and  then  same  on 
right  foot. 

8th  Step.     Hop  forward  with  short  hops  with  heels  together. 

5)th  Step.     On  1 — Swing  leg  forward. 
On  2 — Swing  left  leg  rear. 
On  3 — Swing  left  leg  forward. 
On  4 — Jump  forward  with  heels  together. 
Same  with  right  foot. 


INDEX. 


Page 

Fancy  March  No.  1 5 

No.  2 8 

No.  3 10 

A  Simple  Wand  Drill , 11 

Scarf  Drill  No.  1 13 

"      No.  2 16 

"      No.  3 18 

Wooden  Shoe  or  Dutch  Drill 24 

A  Hoop  Drill  for  Little  Girls 26 

Minuet  No.  1 ' 28 

No.  2 30 

Wooden  Doll  Drill 31 

"Dixie" 33 

A  Simple  Indian  Club  Drill 35 

A  Simple  Dumbbell  Drill 39 

Some  Cake  Walk  Steps 43 

Indian  War  Dance...  44 


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